Welcome to The Best Movies I’ve Never Seen! This is the part of the blog where I work my way through 100 films I’ve never seen that are generally considered to be great. You’re invited to watch along with me if you can find a copy or find it streaming. So grab some popcorn and let’s get started!

M

1931

Directed by Fritz Lang

In the shadowy streets of Berlin, Fritz Lang’s groundbreaking 1931 film, M, unfolds a chilling narrative that transcends the boundaries of traditional cinema. Starring Peter Lorre in his third screen role, the film delves into the harrowing realm of a child murderer, Hans Beckert, and the gripping manhunt launched by both the police and the criminal underworld. Delving into this classic offers a mesmerizing journey into the evolution of cinematic language and societal reflection.

Lang’s directorial prowess is evident from the opening scene, where innocent children play an eerie elimination game, unknowingly echoing the specter of danger lurking in their midst. The film’s screenplay, co-written by Lang and his wife Thea von Harbou, weaves a narrative tapestry that remains unparalleled in its exploration of crime, morality, and societal response.

One of Lang’s cinematic innovations lies in the use of long, fluid tracking shots, adding a dynamic layer to the storytelling. The haunting leitmotif, Edvard Grieg’s “In the Hall of the Mountain King,” whistled by Lorre’s character, becomes a bone-chilling auditory signature that heightens suspense and anticipation.

M stands as a landmark in the transition to sound cinema for Lang, showcasing his mastery in utilizing the new technology. The dense and complex soundtrack, coupled with a leitmotif, foreshadows the future of audio-visual storytelling. Lang’s decision to avoid explicit violence against children on screen, relying on the audience’s imagination, adds a layer of psychological horror that remains effective even today.

The film’s socio-political undertones are equally compelling. Lang’s portrayal of the Berlin underworld draws inspiration from the real Ringvereine, offering a glimpse into the organized crime similar to the Mafia. The parallels between the kangaroo court convened by criminals and the societal debates on capital punishment during the Weimar era contribute to the film’s depth.

Peter Lorre’s performance as Hans Beckert is nothing short of a revelation. In an era where early sound films tended to be theatrical, Lorre’s nuanced portrayal, especially in his impassioned monologue, elevates M to a cinematic pinnacle. His ability to convey the internal torment of a compulsive murderer makes Beckert both repulsive and pitiable, challenging the audience’s perceptions. It’s crucial to acknowledge the film’s impact on subsequent crime and thriller fiction. M doesn’t merely entertain; it provokes thought on morality, justice, and the thin line between the hunter and the hunted. The film’s restoration in 2000 and subsequent Criterion Collection release ensures that new generations can experience this timeless classic in its full glory.